Macbeth,
Nationaltheater Mannheim, by Rainer Köhl, Rhein-Neckar
Zeitung, May 23, 2009
“the
Macduff of Charles Reid,
which moved deeply with urgently impressive power and charisma
in his aria “O figli miei”,
was no less impressive [than Banco].”

Macbeth,
Nationaltheater Mannheim, by Eckhard Britsch, www.opernnetz.de,
May 21, 2009
“Additional assets on this
evening are Charles Reid as Macduff, with a robust-fresh tenor voice…”

La
Traviata, Nationaltheater, by Gabor Halasz, Rheinpfalz,
December 14, 2007
“Charles
Reid gave a vocal and musical performance of Alfredo without any
limitations or
boundaries, with a shimmering tenor voice, flawless technique,
extraordinary feeling for style,
and very
clear intonation.”

J.S.
Bach’s Magnificat & Adventskantate, Evangelische
Stadkirche Esslingen, by Verena Grosskreutz, Esslingen
Zeitung, December 11, 2006
“Charles
Reid made the best impression. He delivered his aria “Die Liebe zieht
mit sanften
Schritten”
with perfectly Italianate style, and with secure intonation, flowing
coloratura,
and much
feeling in the voice he also captured the correct emotions in the Magnificat.”

Sofonisba,
Nationaltheater, by Thomas Rothkegel, Opernwelt,
April 2006, pg. 17
“The cast
comprises a mixture of specialized guests with an accomplished ensemble.
The
ensemble members (of the Nationaltheater) presented themselves more
than equally
with the
guests, especially Charles Reid. He sang the role of the defeated
Siface.
A
marvelous tenor voice, consistent throughout, well focused, excellently
agile and exceedingly
perfect in
stylistic interpretation.”

Sofonisba,
Nationaltheater, by Christoph Wurzel, Online Music
Magazine, March 10, 2006 – www.omm.de
“Charles
Reid sang the role of Siface with large voice and bright tenor sound.”

Sofonisba,
Nationaltheater, by Ellen Kohlhaas, Frankfurter
Allgemeinde, March 3, 2006
“The first
spouse, Siface, believed to be dead, arrived shortly before Sofonisba’s
second
marriage
of political purpose, and was embodied by Charles Reid who sang with a
beautiful,
flexible
tenor.”

Die
Entführung aus dem Serail, Camerata New York, by
Oussama Zahr, Opera News, October 19, 2005
“As
Belmonte, Charles Reid was a sheer delight, the uncontested star of the
evening.
He sang
with ample tone, succulent in the middle, and swelled each phrase
before tapering it
perfectly,
with the terminal consonants neatly punctuating each line in proper
German fashion.”

Boris Godunov,
Metropolitan Opera, by Jay Nordlinger, The New York
Chronicle, March 2004
“Laudable
in the poignant role of the Simpleton was Charles Reid. This man, far
from
a
household name, owns a gorgeous tenor, not bad for a Simpleton.”

Boris
Godunov, Metropolitan Opera, by Justin Davidson, News
Day, January 27, 2004
“Charles
Reid was moving as the Simpleton, the holy fool who doesn’t know better
then to call the
emperor a
killer to his face.”

Boris Godunov,
Metropolitan Opera, by Chandak Ghosh, Roberta on
the Arts, January 27, 2004
“Special
mention should be made of the small role of village Simpleton. Charles
Reid’s glowing
tenor
remains a highlight of this production.”

Marjorie
Lawrence International Vocal Competition, by
Russell P. Allen, eMediaWire, Dec. 9, 2003
“The final
performance was by the 1st Place Winner of the Artist Division, Charles
Reid.
Mr. Reid
demonstrated clearly why he won the competition with an excellent
rendition of Tamino's
contemplative aria "Dies Bildnis ist bezaubernd schön" from Wolfgang
Amadeus Mozart's
"The Magic
Flute". Well into character, Mr. Reid gave an animated and defined
performance.
He had a
clear mastery of his range and technique. The sound that he brought
forth was beautiful.

La
Traviata, Metro Lyric Opera, by Frederick Kaimann, New
Jersey Star Ledger, July 14, 2003
“As her
lover Alfredo, Charles Reid debuted in the role with a lean soaring
tenor.”

Lucia di
Lammermoor, ‘Met in the Parks’, by Jeremy Eichler, The
New York Times, June 19, 2003
“The rest
of the cast was strong, …and Charles Reid an able Arturo.”

Jephtha,
Maryland Händel Festival, by Philip Kennicott, Washington
Post, May 8, 2001
“Charles
Reid, a tenor, was a dramatically compelling Jephtha, heading off for
biblical calamity
with a
jaunty rendition of the line “Goodness shall make me great.” When he
discovers the full
impact of
his silly oath – to slaughter the first thing that pops out his front
door if he’s successful
in
battle–Reid made Jephtha’s loss and horror fully palpable.”

Messiah,
The Masterwork Chorus, by Albert H. Cohen, Asbury
Park Press, Dec. 19, 2000
“As a
group, the soloists ranged from adequate to sensational. Tenor Charles
Reid was the best
in every
way. His voice was wide-ranging and big; his tone elegant and accurate.
His
diction was perfect and his choice of ornaments were both innovative
and a delight for the ear.
I’ve never
heard better tenor work in any ‘Messiah’.”

Zampa,
L’Opéra Français de New York, by Peter G. Davis, New
York Magazine, April 24, 2000
“The three
principal singers were also first-rate: Charles Reid, an ideal romantic
foil with a
pleasingly
soft-grained lyric tenor.”

Zampa,
L’Opéra Français de New York, by Anthony Tommasini, The
New York Times, April 6, 2000
“Charles
Reid as Alphonse showed great promise.”

Messiah,
Princeton Pro Musica, by Nancy Plum, Princeton
Packet, Dec. 22, 1999
“The
performance of ‘Comfort Ye’ and ‘Ev’ry Valley’ introduced one of the
soloist newcomers to
Princeton.
Tenor Charles Reid has performed with the Metropolitan Opera and is
clearly an
up-and-coming soloist. Mr. Reid sang a stately ‘Comfort Ye’ with good
command of the long lines.
This
fluidity of long lines was also later reconfirmed when he performed the
crucial
‘Thou
Shalt Break Them,’ which preceeds the ‘Hallelujah’ chorus.
Messiah
can often be a battle of ornamentation among the soloists, but Mr.
Reid’s approach to the
music was
imaginative and well-executed.”

Messiah,
Princeton Pro Musica, by Donald P. Delany, Princeton
Times, Dec. 22, 1999
“Princeton
Pro Musica’s annual presentation of Handel’s Messiah lived up to – and
in some
respects
perhaps exceeded – the high standard which the chorus has set during
the more than 20
years it
has been singing the two-and-a-half centuries old masterpiece at
Christmastime.
The
soloists were…C. Reid. All were splendid, with Reid giving a special
dimension to his arias.
One does
not often hear a tenor voice of this richness and warmth in oratorio;
his opening
‘Comfort
ye my people’ set the tone for a special evening of vocalizing.”

Annapolis
Opera Vocal Competition, by Mary P Johnson, The
Sun in Anne Arundel, Feb. 5, 1997
“Charles
Reid, a tenor from College Park, won first place from the judges and
the audience at the
annual
Maryland Vocal Competition. For the first time in memory, the audience
chose the same
artist
selected by the judges. Reid was magnificent in both arias he performed.
His rich
tenor has great power, and he displayed amazing breath control as he
sustained
high notes
with apparent ease.”

Belshazzar,
Maryland Händel Festival, by Joseph McLellan, The
Washington Post, Nov. 8, 1994
“The
principal male singers, tenor Charles Reid as Belshazzar…were as well
prepared as their
female
counterparts for the highly ornamented style of Handel’s arias. By any
name, the
performance of ‘Belshazzar’ Sunday at the Maryland Handel Festival was
the most intensely
operatic
experience in the Washington area last weekend and one of the year’s
most memorable.”

Messiah,
Western Maryland Symphony, by Joan DeVee Dixon, The
Cumberland Times, Dec. 5, 1994
“Following
the Overture, tenor Charles Reid demonstrated why he was a regional
finalist in the
1993 Met
Opera Auditions. His performances of…(tenor arias from Messiah)…were
exceptional.
His
ornamentation of each piece was tastefully done, and his selections
were most enjoyable.”

Die
Fledermaus, Brevard Music Center, by John Bridges, Ashville
Citizen-Times, Aug. 10, 1992
“The
Italian-style tenor role of Alfred had the benefit of Charles Reid’s
lyric brightness and he also
caught the
spirit of parody in his portrayal.”